Not entirely sure how I feel about some sort of minimal screen quota, but it seems to me that the comments movie-makers make when talking about the subject sound a lot like expressions of concern made in the past about other changes in the market, namely years ago when the gov’t started allowing Hollywood distribution companies to distribute directly (the big ‘???’ mess) as opposed to having to go through Korean companies and later a little bit when the pop culture market opened up to Japan. There was a lot of ‘the sky is falling’ kind of rhetoric on both occasions and yet Korean films have done better every year.

I’ve often wondered about the lobbying efforts of the U.S. movie industry to repeal this quota, as if this market is that important, but then I’m often appalled by what passes for coherent business practices by American entertainment prepresentatives in this market as well. They seem have no class and half the time little knowledge of this market and its peculiarities.

There should also be a report on the growing staged-musical industry, the shortage of suitable venues for such and the vortex of ‘dan-ta-ra” running after investors, not to mention the need to revise grossly outdated tax models for such (etc.).

Haisan, writing at the blog formerly known as The Marmot's Hole, has provided the first clear, comprehensive and succinct account that I've seen of the points at issue in Korea's screen quota controversy in light of the relevant facts. H…